INSIDER INSIGHT
DISPLAYING COLLECTIONS – NOTES FROM THE EXPERTS
GETTING STARTED ‘When starting a collection, my instinct is to be drawn to what reflects the place, people and their distinctiveness and my love for beautifully crafted objects,’ says Catherine Lock, creative director of The New Craftsmen. ‘I select pieces that feel like they will endure both in quality and the fluctuations of trends. I always go for pieces that have an emotive resonance rather than feeling like they’re a good investment – although it’s very nice when the two things come together.’
MODERN ART ‘Simple ways to incorporate sculpture into an interior without it feeling staged would be to use display cabinets or bookshelves just for artwork and sculpture,’ says interiors stylist and creative director of Modern Art Hire, Laura Fulmine. ‘You can also try to incorporate plinths into the home. To stop them feeling like a gallery choose warm tones such as wood or have some made in coloured Formica, resin, marble or concrete.’ When it comes to arranging, showcase fun and personal items alongside collectors’ work. ‘And don’t feel the need to only show “serious” artwork; kids’ paintings next to a collectible piece is what makes it feel like a home not a gallery,’ adds Laura.
HOW TO FRAME When it comes to framing, there are no hard and fast rules, believes framing expert Marcus Wells of Haviland Designs. ‘Be bold and be brave – and don’t worry what other people think.’ While his personal preference is for an eclectic approach, with different styles of frames hanging together, the aim is to present the artwork in the most effective way. ‘Modern canvases actually often look better with no frame. But we use a huge variety of materials, recycling and using found objects as much as possible – bark, kebab sticks, floorboards and offcuts.’
LIGHT WELL The one thing that has changed everything over the years has been lighting, says gallerist Angus Broadbent. ‘Electrical ambient light is just so good these days.’ Abandon picture lights, he recommends. ‘They rarely light any painting evenly and even in the days when regular lighting was really poor were only ever marginally useful. Discreet spots should be used to highlight a work, but not to illuminate it.’ Be careful about the effects of direct sunlight on a work: watercolour is a dye and photographs fade over time. One way to mitigate this is to apply a UV filter to windows, adds Angus. ‘It’s like a layer of cling film applied, which is invisible but very effective – and will also do wonders in protecting the colour of upholstery fabrics.’
“A COLLECTION OF ARTWORK ALWAYS WORKS INCREDIBLY WELL ABOVE A BED, LESS SOLID THAN ONE FOCAL PICTURE BUT STILL ADDING ENOUGH VISUAL IMPACT TO
CREATE A LAYERED LOOK”
CLARA EWART, senior interior designer, Kitesgrove, kitesgrove.com